Austrian Audio CC8

A Viennese "pencil" mic, blending heritage and modern approach

The CC8 follows the tradition of small diaphragm condenser "pencil" microphones, renowned for their fast transient response and ability to capture details with finesse. Designed and manufactured in Vienna, it embraces this philosophy of clear and detailed sound capture, relying on a handcrafted capsule and mechanics built for intensive use. Whether used in mono or stereo pair configurations, the CC8 positions itself as a versatile reference tool: neutral enough to respect the source, yet with a controlled presence that facilitates mix placement.

Who is the CC8 for and in which contexts does it excel?

This microphone is aimed at sound engineers, stage technicians, backliners, and discerning musicians who want precise imaging, excellent clarity, and reliable performance at high levels. In the studio, it is particularly effective for overheads, cymbals, hi-hats, percussion, and kit ambience, where the speed of a small diaphragm makes a difference on attack. When recording acoustic instruments, it highlights string detail (acoustic guitars, mandolins, violins), piano definition, woodwind projection, and the coherence of classical ensembles. On stage, its cardioid pattern helps contain bleed while maintaining a natural sound on stage.

Features designed for clean, stable recordings that are easy to mix

A handcrafted capsule for faithful capture

The heart of the CC8 is a genuine handmade small diaphragm condenser capsule. The goal is clear: a linear frequency response that avoids excessive coloration and preserves the character of the source. The result is a detailed and clear image, with well-controlled highs that remain smooth on bright sources. The cardioid pattern enhances placement precision, improves isolation, and offers good rear rejection, useful for close miking and stage environments.

High SPL and built-in pads: security for aggressive sources

With a maximum SPL of 156 dB, the CC8 is designed to handle extreme levels without distortion. This is a decisive advantage on energetic snare drums, brass instruments at fortissimo, or percussion generating very fast peaks. The -10 dB and -20 dB attenuators allow input level adjustment, preserving headroom before clipping and optimizing preamp gain, while maintaining a clean and usable signal from the start.

Two high-pass filters to control low end from the recording stage

The 60 Hz and 120 Hz high-pass filters (2nd order) provide immediate cleanup: reducing stage rumble, mic stand vibrations, handling noise, and controlling overly dominant low frequencies. On overheads, this helps clarify cymbal imaging without unnecessarily weighing down the low end; on acoustic guitar or strings, it improves precision and clarity with less corrective EQ needed during mixing.

Low noise and coherence in stereo recording

With a specified equivalent noise of 16 dB(A), the CC8 is also suitable for more nuanced sources and recordings where silence is crucial (ambiences, acoustic ensembles, pianissimo passages). This signal purity contributes to better definition when increasing gain and a more stable sense of detail. In stereo pairs, this neutral and quiet approach helps build a coherent and natural image, whether in XY, ORTF, or ambient recording configurations depending on your workflow.

Technical specifications

Frequency response - start	20 Hz	Directivity	cardioid
Frequency response - end	20 kHz	Connection	XLR
Category	studio microphone	Color	Black

Type	genuine small diaphragm condenser capsule	Switchable pad	-10 dB, -20 dB
Polar Pattern	cardioid	Output Impedance	275 ohms (balanced)
Frequency Response	20 Hz - 20 kHz	Load Impedance	greater than 1 kOhm
Sensitivity	15 mV/Pa	Phantom Power	48 V (consumption < 3 mA)
Equivalent Noise Level	16 dB SPL (A-weighted)	Connector	3-pin XLR
Maximum Sound Pressure Level (SPL)	156 dB SPL	Dimensions	140 x 23 x 23 mm
High-pass filter	60 Hz (2nd order), 120 Hz (2nd order)	Weight	160 g